The Brazilian actress Helena Ignez stood out for her performance outside the rules of classic cinema, blending performance art, excess, verbiage, and physical-gestural disarray. Her performances in the films of the Belair production company in 1970 presented a gestural approach never before seen in Brazilian cinema, and never repeated again. Ignez's style problematised the social moment the country was going through, with the tightening of censorship and control under the civil-military dictatorship established in 1964. We will see how films such as Copacabana, Mon Amour and Sem Essa, Aranha (by Rogério Sganzerla) and A Família do Barulho (by Júlio Bressane) used her body, texts, and gestures as commentary on the processes of restriction of freedoms and the physical torture suffered by Brazilian political prisoners.

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